How do the temporal and dynamic patterns of media forms and
practices create complex constructions of meaning, identity and
value? How can we describe the way cinematic images generate and
transform the affectively grounded structures that survey, confirm
or revise a political community's horizon of values? Using the
exemplary case of feelings of guilt, the author develops an
approach that makes patterns of audiovisual compositions
intelligible as aesthetic modulations of moral feelings. A sense of
guilt is presented here as neither an individualistic psychological
emotion nor an external social mechanism of control but as a
paradigmatic case for understanding politics and history as based
upon embodied affectivity and shared relations to the world. By
taking three distinct examples - German Post-War cinema, Hollywood
Western and films on climate change - patterns of audiovisual
composition and the inherent calculation of affect are analyzed as
practices shaping the conditions of possibility of political
communities and their historicity.
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